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RECORD KEEPING | Is There Anything Pinchas Zukerman Can't Play Well?

By Paul E. Robinson on October 9, 2016

BAROQUE TREASURY. BACH: Concerto for Oboe and Violin BWV 1060. Suite No. 3 in D major BWV 1068. HANDEL: Solomon: Arrival of the Queen of Sheba. VIVALDI: Concerto for Violin and Cello in B flat major RV 547. TELEMANN: Viola Concerto in G major. TARTINI-RESPIGHI: Pastorale for Violin and Orchestra. Pinchas Zukerman, violin and viola. Charles Hamann, oboe. Amanda Forsyth, cello. National Arts Centre Orchestra/Pinchas Zukerman. Analekta AN2 8783. Total Time: 75:00.
BAROQUE TREASURY. BACH: Concerto for Oboe and Violin BWV 1060. Suite No. 3 in D major BWV 1068. HANDEL: Solomon: Arrival of the Queen of Sheba. VIVALDI: Concerto for Violin and Cello in B flat major RV 547. TELEMANN: Viola Concerto in G major. TARTINI-RESPIGHI: Pastorale for Violin and Orchestra. Pinchas Zukerman, violin and viola. Charles Hamann, oboe. Amanda Forsyth, cello. National Arts Centre Orchestra/Pinchas Zukerman. Analekta AN2 8783. Total Time: 75:00.

The musical life of Pinchas Zukerman (68) appears to be busier than ever. Although he recently stepped down as music director of the National Arts Centre Orchestra, he is still principal guest conductor of the Royal Philharmonic Orchestra. As it happens, we have new recordings featuring Zukerman as soloist and conductor with both these orchestras, and each of them, with minor qualifications, is superb.

If you are looking for original instruments or historically informed performances along the lines of Tafelmusik or Les Violins du Roy, “Baroque Treasury” may not be the right choice for you; these are old-fashioned or historically “uninformed” performances, if you will. The musicians on these recordings play with plenty of vibrato, tempos are moderate and the token harpsichord is generally inaudible. That said, at a time when original instrument groups have practically taken over the baroque repertoire — have you heard the Toronto Symphony play much Bach or Handel lately, apart from Messiah? – it is refreshing to see the NAC refusing to yield. And surely there is room in our musical universe for all manner of approaches, at least when they are sincere and proficient. “Sincere and proficient” is certainly the case here. Under the departing Zukerman – this is his last recording with the NAC Orchestra after 16 years at the helm — this fine Ottawa band offers up some very persuasive baroque performances.

Zukerman takes slower than usual tempi for Bach’s Concerto for violin and oboe — all the better, to allow time for the interplay between the solo instruments. Charles Hamann makes a gorgeous, expressive sound which matches the famous Zukerman tone perfectly. The same could be said of the other double concerto on the disc, Vivaldi’s Concerto for violin and cello in B flat major, with Zukerman and Amanda Forsyth in complete sync, one with the other.

Pinchas Zukerman has always had an affection for the viola as well as the violin and must be counted one of the world’s top soloists on both instruments. Apart from some rushed tempos here and there, the Telemann Viola Concerto in G major – perhaps the first viola concerto ever written — is given a mellifluous and forceful reading.

Zukerman does what he can for the Pastorale for Violin and string orchestra, an arrangement by Respighi of some sonata movements by Tartini — a somewhat weak piece. The CD concludes with a fine performance of Bach’s Suite No. 3 in D major, with some really exceptional trumpet playing.

VAUGHAN WILLIAMS: The Lark Ascending. Fantasia on a Theme by Thomas Tallis. ELGAR: Serenade for Strings Op. 20. Chanson de matin Op. 15 No. 2. Chanson de nuit Op. 15 No. 1. In Moonlight arr. Julian Milone. Salut d’amour Op. 12. Introduction and Allegro Op. 47. Pinchas Zukerman, violin and viola. Royal Philharmonic Orchestra/Pinchas Zukerman. Decca 478 9386. Total Time: 71:52.
VAUGHAN WILLIAMS: The Lark Ascending. Fantasia on a Theme by Thomas Tallis. ELGAR: Serenade for Strings Op. 20. Chanson de matin Op. 15 No. 2. Chanson de nuit Op. 15 No. 1. In Moonlight arr. Julian Milone. Salut d’amour Op. 12. Introduction and Allegro Op. 47. Pinchas Zukerman, violin and viola. Royal Philharmonic Orchestra/Pinchas Zukerman. Decca 478 9386. Total Time: 71:52.

If Zukerman’s romantic approach to baroque music is not to your taste, you might try his new CD with the RPO, which is devoted to genuinely romantic music by Vaughan Williams and Elgar. Zukerman has a real affinity for this music and with the RPO in top form, some of these performances could hardly be surpassed. Elgar’s wonderful Introduction and Allegro Op. 47, one of the greatest pieces in the repertoire for string orchestra, has rarely been played with this degree of virtuosity, beauty of tone, and clarity of texture.

Elgar’s “Chanson de matin” has always had a special place in my memory bank. It was the theme music for an old CBC Radio late-night program called Music at the Close. I loved going to sleep with this program as a kid, and the beautiful theme music was an important part of the experience. Zukerman and the RPO give it an affectionate performance. Also included is part of the slow middle section (“In Moonlight”) from Elgar’s concert overture In the South. Zukerman plays the melancholy viola solo with an ideal fullness of expression.

Vaughan Williams’ The Lark Ascending is a gorgeously evocative piece for violin and orchestra, and Zukerman does it proud. In the program booklet, Tully Potter reminds us that Zukerman first recorded this piece in 1973 with Barenboim conducting. At the time, Zukerman didn’t know The Lark Ascending and learned it overnight for the recording.

The Fantasia on a Theme by Thomas Tallis is another stellar performance. Vaughan Williams cleverly uses two string orchestras and a string quartet to provide variety in the string sonorities, and with a master string player like Zukerman on the podium, the composer’s vision could hardly be in better hands. This is great string playing. Recording producer Philip Traugott and his team deserve enormous credit for the rich sound they captured from Zukerman and the RPO in Cardogan Hall, London. Incidentally, Traugott was also the recording producer on a “Baroque Treasury.”

For more Record Keeping see, HERE.

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